Nick Output wrote:The DMG Equallity is pretty rocking. It has analogue, digital and lin-phase settings. Its clean, has a huge amount of features and also allows you to preview the spectrum with an analyser.

Seconded, EQuality is my go-to EQ these days. I know plenty of guys that swear by Waves Q10, and many people are really impressed by Avid's Channel Strip that's built into Pro Tools 10/11. I can't think of anything it can't do that another EQ can...it just comes down to the amount of depth and complexity that you want to have access to on the fly.

I have an instantiation of it on every DX, FX, BG, FL, and MX track in my sessions, plus two on my denoising chains. I typically use them as follows (ONLY WHEN MIXING):

DX EQ: Initial filtering and notching to clean everything up before it hits my denoise chain(s).
Denoise Chain EQ 1: Further filtering and notching if I run out of bands on the DX EQ.
Denoise Chain EQ 2: This is the last plug in my chain, and it's for making the nice, deep, "film dialog" sound that we're all used to hearing.

FX EQ: Like most SFX editors in the post sound world, I work with in virtual predubs. 7 SFX tracks in each, plus 1 routed to the LFE only. The EQs on the 7 main SFX tracks are for shaping each effect to fit into the mix. The one on the LFE-only track is just a low-pass filter so that if I end up in a room without an LFE, I can still get the desired effect.

BG EQ: Really more of a notch filter for the most part, but will use them to do roll-offs or scoop out certain frequency ranges if need be.

FL EQ: Most of the time, I just let foley play as is...but that's more to do with deadlines and less to do with mix preferences. Typically these just end up being light roll-offs on the higher frequencies, but depending on what needs to be done, it allows me the ability to sculpt foley into a mix just where I need it to be.

MX EQ: Again, just to scoop out certain sections to let other sounds punch through when necessary. I never know how much of what will be required to make that happen, so EQuality allows me all the tools I'd need while still being very processor-friendly.

All told, I think I have anywhere between 100 to 200 EQs in any given session for smaller projects.

Also, like Nick said, I find myself doing AudioSuite/offline processing with some of the default EQ3 plugs, but that's mostly just for extreme low-pass filtering on designed sounds.